Custom Commissions

Almost anything the material allows: oversized dining tables beyond listed dimensions, countertops and vanity tops, reception desks and bar fronts, fire surrounds, shelving and plinths, cladding elements, one-off sculptural pieces, and versions of catalogue designs altered past the point of a simple size change. The honest boundary is engineering, not imagination, unsupported spans, very thin sections in fragile stones and physically contradictory details get engineered into something buildable or declined with reasons. The commission route is the same regardless of scale: your input (sketch, drawing, reference images or plain dimensions), our feasibility response with material options, a production drawing for approval, then manufacture. If you are unsure whether something qualifies as “bespoke”, send it anyway; the answer costs nothing.

Yes. Commissions regularly begin from a photograph of a room, a magazine tear, or a sentence like “a round travertine table for six that doesn’t look heavy.” What happens next is a structured conversation: we ask the questions that turn an idea into a specification, dimensions the space allows, stones that suit the use, budget direction if you have one, and translate the result into a drawing you can react to. Reacting to a drawing is far easier than describing a table from nothing, and revisions at drawing stage are quick. You do not need CAD files, trade vocabulary or a finished design to commission well; you need a space, a use, and a willingness to answer specific questions.

Freely before approval, formally after. Between the first proposal drawing and your sign-off, revisions are the point of the process: dimensions shift, stones are swapped, edges change, and each revision produces an updated drawing so the current state is always on paper rather than in memory. Where a revision changes cost, a larger top, a rarer stone, the quotation is updated alongside the drawing, visibly. Approval is the line: once you sign the drawing and production is scheduled, the specification is fixed, because slabs are selected and cutting plans are made against it. Changes after that point are handled honestly as what they are, a change to a live production order, with feasibility and cost stated before anything is altered.

Yes, and it is the smoothest route we have. Send dimensioned drawings in the format you work in, CAD files are ideal, dimensioned PDFs entirely workable, along with the finish schedule or stone intent. We return a production drawing in our conventions, which is where fabrication reality is added: stone thicknesses for the spans, joint positions on multi-part pieces, weight and handling notes, fixing details. Discrepancies between design intent and stone behaviour are flagged as questions, not silently resolved. Approval then sits with you or your client as your process requires. Practices running multiple pieces through a project get one point of contact and consistent drawing conventions across the whole package.

To a point that deserves honest description. Matching a stone family and finish, the same named stone, honed the same way, is straightforward and usually convincing at room scale. Matching the exact figuring of an existing surface is not fully possible, because no two blocks repeat; what we do instead is select toward your reference: you send photographs (in daylight, with something for scale and colour), we photograph candidate slabs against them, and you confirm the closest before cutting. For adjacent surfaces where continuity really matters, sequential slabs from one block are the gold standard when available. We will always tell you which of these three outcomes your situation allows rather than promising “a perfect match.”

By build-up, not by mystery: material (the stone, at the volume and quality your piece needs, including waste the cutting plan cannot avoid), fabrication time (cutting is quick; shaping, hollowing and hand-finishing are where hours live), any metalwork or glass, packing engineered to the piece, and freight to your destination. Complexity you can see usually maps to cost honestly, a fluted surface costs more than a flat one because it takes hand time; an oversized top costs disproportionately more because block yield drops. The quotation itemises these so you can steer: clients regularly trade a rarer stone for a more complex form, or simplify a detail to fund better material. Nothing about bespoke requires the budget to be bespoke-shaped from the start.